I think I've finally graduated from being overly swayed by what some other high profile person used. I would encourage you to remember they didn't track your singer in your room. Use your own ears. Yes, we all know the SM7B was Michael Jackson's mic and Taylor Swift used an Avantone CV-12. That doesn't mean they are necessarily right for what you are tracking. I would instead think of the type of tool it is, dynamic, large or small, condenser, large or small, ribbon, etc and what unique characteristics your mic might have.
Before setting up a mic I try to think of where the instrument is going to be as if it were a character in a play. Is it the lead or a supporting role? Of course you want all your parts to sound great, but how you capture it is also going to help define how easy it is to push back or pull forward in the mix. Another metaphor I use is thinking of mics like flashlights. How much light and how white do you want that light to be on your subject. Not everything looks great in hard bright light. |
I also changed my interface a few time but landed on the UA Apollo 8. I do use the plugins when tracking sometimes but not often when mixing because I take my laptop with me a fair amount. Tracking with compression; I do have a Manley El-Op and I track EVERYTHING though it. Just a little needle wobble and the track is kept in check and that rich hi-fi tone is embude.
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For the longest time I couldn't write a bridge and now I feel like it is the part of the song that reveals the the skill level of the songwriter more than anything. We do it differently every time and it tends to have the most iterations. We are not the kind of writers who bust out something in 10 minutes and think it is a finished product. Maybe it is because we can't or maybe because we over think it but that hasn't ever happened to us. Then there is the question of who is going to sing it, which typically isn't much of a question.
For writing the music I might start with just a few chords voiced rather open so that a melody has more room to sprout. If nothing comes right away I begin to change up major and minor or add a 7th to push my ear in one direction or another. If the melody wants to leave the chords, I go with it. The melody has right of way. After the melody feels solid I might go back and try chord substitutions. If the melody requires simple chords I might move the bass notes around to destabilize sections of the verse to make the chorus feel more like a home base. These are just some suggestions that seem to be working for me at the moment. |
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